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Posted: April 8th, 2010 | Author: | Filed under: Music | Tags: , , , | Comments Off on FoundSound1!


Yes, that says “BOINGING”!

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ROIR cassette only release! Like Dub? You must have this.

Dub Syndicate One Way System (1983) <RapidShare link>

Track one teaser: Socca

Do read the liner notes! They are rich:

In the rather unlikely event thai you don’t know what dub music Is – after all, why then would you have this tape and be reading these notes? – it’s when a reggae producer takes a pre-exlsting reggae track, edits out the vocals and most accompanying In- struments except the rhythm section, drops them back In at odd moments, echoes and reverbs and rebounds and swells and stretches the whole thing, and generally creates a truly mind-and-body- bending, prlmltive-yet-sophlstlcated, techno-atavlstic, roots-futurlst kind of minimal hypno-trance dance music. The solemnity Inherent in reggae’s deep, stately, long-march rhythms is magnified and, along with the disappearance, reappearance, and electronic transmogrification of a guitar lick here, or a vocal or keyboard flourish there, It all evokes pure dread, the dread lying deep In reggae’s spiritual heart. Yet. It’s still quite often as funky and fun as it is scary and avant-gard.

Adrian Sherwood is–shockingly, unbelievably, amazingly, interestingly. or whatever enough – a white Englishman who happens to produce some of the world’s best dub music. In Just a few years, Sherwood’s On-U-Sound Records has amassed a sizeable catalog that marks Sherwood’s incredibly prolific career as being just as important and enjoyable as those of Jamaican dub- masters like lee “Scratch” Perry, Augustus Pablo, Scientist, and Prince Jammy. One of Sherwood’s secrets is his connection to many of Jamaica’s finest singers and players, a relationship that started when Sherwood began hanging out with legendary Jamaican dubmaster/DJ-toaster (a toaster chants a Jamaican patois version of rap over a dub track) Prince Far I, whose four volume Cry Tuff Dub Encounter series stands as a landmark of the space-Invaders techno-dub that Scientist, Jammy and Sherwood have furthered. Once Sherwood set up On-U-Sound In ‘Britain, he’d Just walt till Far I or any of the many others he works with – Creation Rebel ~an instrumental-dub band responsible for such On-U-Sound classics as Psychotic Junganoo, consisting of Jamaican studio band Roots Radlcs); toaster Jah Whoosh; crooner 81m Sherman; ace reedman Oeadley Headley Scott – came to England on tour, and record whatever sessions with them he had time for. In the best dub tradition, especially that of Perry, Sherwood makes the most of a limited number of basic tracks, working and re-worklng them with ever more inventiveness over any number of albums. Sherwood could leave things straight for a Creation Rebel album; or add tracks by a few others and mix things in a more African direction for an African Headcharge disc (check out My Life In 8 Hole In The Ground); or In a Pablovian Far East/Third World direction for a Suns of Arqa record; or take Creation Rebel Instrumental tracks and bring in members of his stable of white Brit avant-funk groups, like ex-Slit Ari Up, to make a New Age Steppers album; or put all of the above together for a Singers and Players project (such as the hlghly) recommended War of Words).

Whatever, Sherwood’s vast and varied body of work has done as much as, If not more than, anyone else’s to Increase dub’s global outreach – even though many On-U-Sound Records are unevenly distributed, and some have even gone out of print. So thanks ROIR for this ample sampler you hold in your hot little hands, a resume of sorts of Sherwood’s oeuvre. There are many moods here, all of them vividly realized: the dreadfull, spare classlc-dub feel of “Socca”; the stately. eerie otherworldly mood of “Schemers” and “Substyle”, so evocative of Pablo (though, to Sherwood’s credit, only the steelpan synth near the end of “Schemers” actually sounds like Pablo); the jolly, chirpy, bounce of “Drainpipe Rats”; the sultry tropical insinuation of “Drilling Equipment,” a gorgeous showcase for Deadley Headley’s Lester- Young-on-a-Lonely-Avenue-In-Trenchtown sax… The grooves provided here (which also serve as the basis of many songs on the New Age Stepper’s latest, Foundation Steppers) by such greats as Style Scott, Bingl Bunny and Steely of Roots Radlcs, George Oban of top-ranking British reggae band Aswad, and Crucial Tony and lizard of Creation Rebel are good enough to stand on their own – Sherwood could do anything he wanted with them and they’d have to sound pretty good. But One Way System is much better than that. Your attentlon is especially directed at this cassette-album’s most exceptionally innovative cuts. Sherwood’s use of springy elastic echo on what is already unusual-for-reggae percussion in “Overloader,” “Ascendant (Parts 4 and 6),” an9 “Independence” results In a sort of Captain Beefheart-meets-Sly and Robbie, crazy quilt of seemingly off-kilter yet deep-in-the-pocket polyrhythms. “Independence,” especially, with Its Jittery yet cocksure march beat and lurching, elephantine synth·bass going through conqueror-worm syncopations, sounds like no other reg- ggae, dub – no other music – I’ve ever heard. And “Ascendant, Part 6,” with Its enormous wallops of synth-percusslon boinging through the valleys of a killer groove so deep Us peaks seem like skyscrapers, also displays Grandmaster Flash – style prowess with turntable-Jazz techniques like cutting, scratching, and discslipping. Incredible – dread-full and up-full, and streetwise!

To be blunt, Adrian Sherwood has done it again. One Way System is more than Just good dub, more even than as-good-asJamaican dub. It’s Just good music. Period. Listen.


WARNING! This album iength production Is not available on vinyl: It was specially creatad by Adrian Sherwood of On·U Sound Productions, U.K., exclusively for ROIR Cassettes.


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